Untitled - Index of - Free

Johnny - Right. We're gomg for the plane. Now! I'll
help Abe down the hall, and then I'll help both
Abe and Scott into the good plane. But, first,
I want to lock that door at the end of the
corridor if possible, once were through. That
might slow the Colonel down some. I know
he's going to be getting up again.
Director- Is that a Statement you want to put a Plot
Point into?
Johnny - No! But I know it's true anyway. I want to get
out of here fast!
Scott- As we pass by the shot-up plane, I laugh
quietly again, and ask Johnny to get the
parachute from it. Those bullets are right into
the oil pump. That plane is a flying death trap,
and I know the Colonel won't give up without
using it. And that's a Statement I'll put a Plot
Point into.
Neat tie-up for the next Scene. The Colonel has been
impressive enough that Johnny won't stop to plug him a
few more times while he's down. Instead, the Main Cast
wishes to make their get-away while everyone is still alive
(which is good, because not everyone has spent a Plot
Point in a direct attack against the Colonel, yet An
attempt on his life, at this point, would mean a flood of
Nazi guards coming down the stairwell, or a puncture in
a mustard gas container secreted in the Colonel's leg, or
a bout of sudden turbulence buffeting the uncontrolled
aircraft, etc.). As it is, we've been left with a reasonable
opening for the Colonel to appear once again, before this
Episode is over.
Nice use of a Statement, and backed up by a Primary
Descriptor as well. The Director will make good use ofthis
in the next Scene. The Actors have just bought them­
selves a winning edge in the coming aerial dogfight.
Note: Looking over this example, you may notice how much of the action is formed as a direct response to the Actors' descriptions.
The Flowcharts, which were used only a couple of times, help to resolve those moments which the Director is unsure about,
or does not have an immediate response for. What drives this Scene is the Director's kn owledge of its purpose. As the Main
Cast strive for a creative solution to their predicament, the Director is able to judge their effectiveness, and alter the story's
flow, based on a firm knowledge of this Scene's meaning in the context of the Episode. Without that knowledge, the Director
would be left trying to respond to the Actors using some vague notions of fa1rness, or realism, which on their own, are not
capable of supporting a free-from game. Instead, a Director must control, create, manipulate, allow, reward, and play.
112 Theatrix - The Core Rules